"Hamilton" Dazzles; "Constellations" Shines

Lin-Manuel Miranda's new hip-hop(ish) historical biographical musical "HAMILTON" at The Public Theater takes on more than any stage musical properly should.  It is a sweeping biography of a founding father, a tale of ambition and power, a love story, a contemporary social commentary, and a canny melange of musical styles with heavy emphasis on hip-hop.  "Hamilton" keeps one foot in the traditional musical form and points the other in the direction of  a bold revisionist take on the musical form.  But what sounds like a recipe for an ambitious mess ends up an ambitious success, aided by a terrific score, crisp and intelligent dialogue, fluid direction and a top notch cast.  In the end, the show succeeds on many levels, providing both a history lesson and flashy entertainment with the potential of becoming the next huge musical hit.  Mr. Miranda and his collaborators have given us not just the first great hip-hop(ish) musical, but the first great (and probably only) hip-hop(ish) historical bio-musical.  Don't miss it.

Broadway these days can be a cruel place for intelligent, well written adult dramas, and Manhattan Theatre Club is commended for bringing Nick Payne's terrific new play "CONSTELLATIONS" to Broadway at its Samuel Friedman Theater.   As box office insurance, it does not hurt that film star Jake Gyllenhaal was cast as one of its two person cast.  The happy news to report is that Mr. Gyllenhaal gives a remarkable Broadway debut that holds its own with the highest caliber stage veterans.  Fortunately, he is cast opposite a equally well skilled British actress, Ruth Wilson.  "Constellations" is a very well written and crafted play that equally engages the mind and heart, but which unquestionably requires the assistance of excellent actors to succeed.  This production supplies the necessary high quality actors who mine the writing for all of its nuances and emotions.  The beneficiaries are the lucky audience members who see this production before it closes in a few weeks.

I will be the first to admit that vampire dramas are not my thing.  To me, they largely seem silly, derivative and pointless.  Thus, I was quite surprised by how much I was drawn into such a drama in the form of the stage adaptation of "LET THE RIGHT ONE IN" an import from the National Theatre of Scotland currently playing at St. Ann's Warehouse in Brooklyn.  Director John Tiffany and choreographer Steven Hoggett, together with the help of their ace design team and enormously talented actors, fashion a lyrical and psychologically intriguing stage tableau that cast its surprising spell on this skeptical viewer.  

Finally, I recommend the two fine lead performances of Matt Doyle and Nicolette Robinson and the tuneful score of "BROOKLYNITE" at off-Broadway's Vineyard Theater, provided that you can endure an overlook a clunky superhero themed book and some cringe-worthy dialogue.  This show has its charms, but needs to pick a consistent tone and stick with it.  

2014 Top 10 Theater: Off-Broadway Dominates

The most discernible trend in this year's top 10 theater list is the paucity of any Broadway productions on the list (just 1 of the listed shows), and the total absence of a Broadway musical on this year's list.  Nevertheless, the dominance of New York off-Broadway plays confirms the strength and vitality of New York's non-profit off-Broadway theater companies.  In additional, there was a notable increase in the presence of several productions presented and/or produced in Los Angeles.

Overall, it was an excellent year for new plays, with a couple of strong revivals of modern, yet already classic, musicals given fresh and vibrant interpretations.

1. FATHER COMES HOME FROM THE WARS PARTS 1, 2 & 3 [Public]

2. THE INVISIBLE HAND [New York Theatre Workshop]

3. THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME [Broadway]

4. LUNA GALE [CTG/ Kirk Douglas]

5. APPROPRIATE [Signature Theatre]

6. INTO THE WOODS [Wallis/OSF]

7. BETWEEN RIVERSIDE & CRAZY [Atlantic Theater]

8. VANYA & SONIA & MASHA & SPIKE [CTG/ Taper]

9. SPRING AWAKENING [Deaf West]

10. GRAND CONCOURSE [Playwrights Horizons]

Honorable Mentions: POCATELLO [Playwrights Horizons], STRANGE UNDOING OF PRUDENCE HART [Broad Stage/ National Theatre of Scotland], OUR LADY OF KIBEHO [Signature Theatre]

Best Acting Performances: Alex Sharp (Curious Incident); Mary Beth Fisher (Luna Gale); T. R. Knight (Pocatello); Christine Ebersole (Vanya Sonia); Cate Blanchett (The Maids); Stephen McKinley Henderson (Between Riverside & Crazy); Nneka Okafor (Our Lady of Kibeho);  Quincy Tyler Bernstein (Grand Concourse); Sterling K. Brown (Father Comes Home From The Wars); Jeff Skowron (Into The Woods)

Carey Mulligan Shines in NT Live's "Skylight"

KenderTheater (@KenderTheater)

10/25/14, 8:48 PM NT Live's film of the outstanding UK stage production of David Hare's #Skylight is a winner that should not be missed.  Director Stephen Daldry brings out the best in the play and the terrific acting leads Carey Mulligan and Bill Nighy.  Mulligan is once again luminous and confirms that she is the best actress of her generation.  The screen close ups on Ms. Mulligan allow the viewer to feel the soulfullness of her performance.

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"Curious" Is Hugely Rewarding

KenderTheater (@KenderTheater)

10/12/14, 10:28 AM "The Curious Incident of the Dog in the Night-Time" is a fantastic National Theatre production of a fine stage adaptation of the novel that surprises, informs and dazzles its audience.  It is creatively and fluidly staged with an auspicious & stunning Broadway debut by recent Julliard grad Alex Sharp.  This deserves to be as big of a hit in the US as it has proven to be in the UK.

Old Globe's "Bright Star" has a dim and dated plot

KenderTheater (@KenderTheater)

10/4/14, 8:51 PM The new Steve Martin & Edie Brickell musical "Bright Star" @TheOldGlobe is a major disappointment given the pedigree of its creators.  Yes, it features solid production elements, a talented cast (with one major exception, the terrible actor and singer playing Major Dobbs), solid direction and some beautiful music.  But the song lyrics lack subtlety and the book by Steve Martin tells a hackneyed and boring story.  I could see the major plot "reveal" from a time zone away; it was so obvious that I felt it had to be a set up for an unexpected twist that never arrived.   Admittedly the matinee audience I saw it with (average age was in the 70s) seemed to love it.  If this is the future of American musical theater (and I sure hope it is not), we are going to be doing a time warp again.

Deaf West's "Spring Awakening" is a Dazzling Success

I have seen and was a fan, to varying degrees, of the all four of the past Deaf West musicals from "Oliver" to "Pippin," with a special affinity for "Big River."  In addition, I was quite taken with the Steven Sater/ Duncan Sheaik's musical adaptation of "Spring Awakening" when I first saw it in previews  in 2006 at the Atlantic Theater in New York and in its subsequent Broadway and road tour versions.  Thus, in advance I was primed to like Deaf West's re-imagined "Spring Awakening," which seemed like a good fit of material to concept.   But upon viewing the show this past weekend at the Inner City Arts complex in downtown Los Angeles, I  was stunned by what I witnessed on stage - stunned by the vision, the artistry, the cohesion of the incredibly talented and committed cast, and the perfect melding of show to concept.

The intersection of the deaf and hearing world explored in this production finds a perfect mate in underlying themes of "Spring Awakening," and give new meaning and emotional vibrancy to the show.  While I have liked the previous productions of "Spring Awakening" that I have seen, in all prior productions there were portions of the show that I found a little too harsh, distant and strident.  Not so in this production.  My empathy for these characters in this revival was immediate and constant, making me feel the characters' pain all the more deeply.

A few words about the cast.  Most of these cast members were new to me, but it would be hard to imagine ever finding a more talented and well suited ensemble.  It would not be fair to single out any individual members of the cast for mention, both because they are all so good, and because they appear to operate as a seamless collective.  The band sounds terrific; the staging, projection, lighting and sound are top-notch; and the choreography and movement (by Spencer Liff) are beautifully fluid and appropriately contextual.  The melding of singing, movement and signing is nothing short of breathtaking.

Director Michael Arden is a musical actor who singing and acting has always impressed me, but his directorial work here came as a welcome surprise.  He has created a very special work here that no serious theatergoer in Los Angeles should miss.

Kudos to everyone involved.   You deserve a sold out run.  I suspect you will get one.

British film "Pride" is Strikingly Enjoyable

KenderTheater (@KenderTheater)

9/26/14, 10:37 PM Although it feels somewhat like a mash-up of "Billy Elliott" and "Priscilla Queen of the Desert," the entertaining British film "Pride" Works in spite of some dramatic excesses.  The film tries to do too much, and is obviously manipulative, but I thoroughly enjoyed virtually every minute of it.  Like the other films mentioned, this one seems to be a great candidate for a musical theatrical adaptation.

Geffen's "Choir Boy" Powerfully Blends Music & Finely Wrought Emotions

KenderTheater (@KenderTheater)

9/21/14, 10:26 PM "Choir Boy" @GeffenPlayhouse is a superlative production of another terrific and moving play from the immensely talented Terrell Alvin McCraney.  The basic plot elements have been seen before, but they are presented here in a deeply felt and emotionally resonant way.  The cast is great, but the production excels largely due to the outstanding performance of lead actor Jeremy Pope.  I liked this play at Manhattan Theatre Club last year, and was thrilled that the Geffen Playhouse remount is every bit the equal of its worthy predecessor.

"Marjorie Prime"- A Terrific New Play

KenderTheater (@KenderTheater)

9/20/14, 10:45 PM Jordan Harrison's terrific world premiere play at Center Theatre Group's  Taper deftly weaves an intriguing premise, great acting and elegant writing.  While the entire cast is great, the incomparable Lois Smith anchors the work and sets the appropriate wistful tone.  It would be best to see this show knowing nothing about the premise or plot and just let it unfold before you.  Even at 90 minutes the play is a bit too "talky," and there is nothing especially unique about the concept;  nevertheless, I was engaged by the high quality production, the fine performances and the beautiful writing.   CTG is commended for bringing a world premiere play to its stage, something that has been lacking in recent years at the Taper.  Thoughtful audiences should reward that effort and see this show, which is in turn very rewarding.

A Classic Reborn: NT Live/New Vic Revival of "Streetcar"

KenderTheater (@KenderTheater)

9/16/14, 11:28 PM NT Live's screening of the New Vic's UK production of Tennessee William's' "A Streetcar Named Desire" is exciting, fresh, raw, primal & devastating.   Benedict Andrews' direction mines this classic for new insights and yields a production that makes the play feel vibrant and current.  Don't miss this one, in which Gillian Anderson is stunning as Blanche DuBois (who knew?) and Ben Foster is a searing Stanley Kowalski.

South Coast Rep's Magical Take on "The Tempest"

	KenderTheater (@KenderTheater)
9/14/14, 9:54 PM Despite uneven acting & some style cohesion issues in Act 1, South Coast Rep's magic-centric adaptation of Shakespeare's "The Tempest" (a co-production with ART at Harvard) ultimately casts an enchanting and magical spell on its audience.  Not all of it works, but enough does to make this well worth a visit.

Gob Squad Invades Downtown LA

	KenderTheater (@KenderTheater)
9/13/14, 10:57 PM #GobSquad:SuperNightShot @CalArtsREDCAT is an intriguing concept executed with a generous and contagious spirit.  Filmed just an hour before curtain on the streets of downtown LA, I fear the downtown LA denizens were not as game as one would hope.  Still, the focus on fame vs. anonymity left me thinking, which was the point of the work.

Book recommendation: Ben Lerner's brilliant "10:04"

	KenderTheater (@KenderTheater)
9/7/14, 9:41 PM Just published Ben Lerner novel "10:04" is mind blowing exploration of time, experience & memory.   It is the best new work of fiction I have read in several years.  It provides a thoughtful, compelling, funny and mind-expanding reading experience.

"Love Is Strange" is an uneven mix

	KenderTheater (@KenderTheater)
8/23/14, 11:20 AM John Lithgow& Alfred Molina are great in Ira Sachs' "Love Is Strange," but some of the plot points did not ring true and seemed overly contrived.  Nevertheless, much of this film is very moving and has a quiet and contemplative beauty.  Recommended with some reservations.

A Clear But Uninspired Lear

KenderTheater (@KenderTheater)

8/18/14, 4:28 AM "KingLear" @PublicTheaterNY at the Delacorte in Central Park played its final performance last night.  This Lear, directed by Daniel Sullivan and starring John Lithgow was clearly articulated, unevenly acted, and largely uninspired, making for a long evening.  It is the first less than successful Shakespeare production that I have seen with Mr. Sullivan at the helm.  Part of the problem for me, was that this production failed to convey most characters' motivations which lie beneath the surface language of the play and need to be carefully mined by the director and actors.  It was, nevertheless, a beautiful summer's night in the Park.